Die Lederhosenaffäre is an Austrian television-film comedy directed by Markus Engel. It takes place in Innsbruck and its surroundings, and pokes affectionate fun at regional pride, legal absurdities, and romantic ambition.

The story centers on Konstantin Zeller, an aspiring lawyer from Innsbruck who once studied law but whose career has stalled after an accidental fire in the university library during a student protest. He now works in a small law-office in a lowly position and occasionally dresses up as a medieval knight to hand out flyers on the streets of Innsbruck just to make ends meet.

Konstantin unexpectedly runs into his former great love, Olivia, who now runs a small Tyrolean business specialising in short Lederhosen (traditional Austrian leather breeches) designed and sold under the label that claims they are a Tyrolean original. Olivia is sued by a large Bavarian corporation which insists that the short Lederhosen were invented in Bavaria, not Tyrol. If she loses the brand-lawsuit, her business and reputation are doomed.

Seizing the opportunity both to help Olivia and to win back her heart, Konstantin offers to represent her in the trademark dispute — even though he has never passed his law exam and is not a licensed attorney. He becomes tangled in the case, media attention, and political sideshows. The dispute over who invented the short Lederhosen becomes a symbolic battle for regional identity: Tyrol vs Bavaria, old traditions vs corporate power.

Meanwhile, Konstantin’s mother and other local figures get involved — the vice-mayor of Innsbruck sees the conflict as a chance to regain political standing; Olivia’s husband and father’s company have their own stakes; and the lawsuit turns into something much bigger than a business case. As Konstantin fakes his credentials to defend Olivia, he must also hide his secret from Olivia and face the consequences if he is found out.

The humour is driven by local colour, mishaps in the courtroom, bureaucratic absurdities, and the interplay of romantic ambition and professional deceit. Konstantin’s foolish bravado clashes with the seriousness of brand law; his love for Olivia competes with his fear of being exposed; Tyrolean pride collides with corporate Bavaria.

Visually and tonally, the film blends the charming Alpine setting — Innsbruck’s old town, the Tyrolean countryside — with the world of legal offices, press conferences, and media spectacle. The contrastBetween quaint regional tradition and ruthless brand litigation gives the story its quirky energy. The cast includes Stefan Pohl as Konstantin and Josephine Bloéb as Olivia, supported by actors portraying lawyers, politicians, businessmen and family members, all with touches of exaggeration appropriate to the comic tone.

While the film offers laughs and regional satire, it also touches lightly on themes such as authenticity (what makes a tradition genuine), power (who owns culture and identity), and the complications of personal ambition. The climax resolves the lawsuit in a clever way: Konstantin uncovers that neither side can legitimately claim sole invention of the short Lederhosen, thus undermining the corporate claim and saving Olivia’s business — and causing the giant to withdraw its suit. Konstantin’s lie about being a lawyer, however, remains a loose end he must face.

In the end, Die Lederhosenaffäre is a light-hearted but witty comedy about regional pride, romantic second chances, and the absurdities of legal culture when tradition meets branding. It invites viewers to laugh at the conflicts of identity, business and love, all set against the picturesque Tyrolean landscape.